Sometimes people use “respect” to mean “treating someone like a person” and sometimes they use “respect” to mean “treating someone like an authority.” And sometimes people who are used to being treated like an authority say “if you won’t respect me I won’t respect you” and they mean “if you won’t treat me like an authority I won’t treat you like a person” and they think they’re being fair but they aren’t, and it’s not okay.
In literature, a conceit is an extended metaphor with a complex logic that governs a poetic passage or entire poem. By juxtaposing, usurping and manipulating images and ideas in surprising ways, a conceit invites the reader into a more sophisticated understanding of an object of comparison. Extended conceits in English are part of the poetic idiom of Mannerism, during the later sixteenth and early seventeenth century.
In English literature the term is generally associated with the 17th century metaphysical poets, an extension of contemporary usage. In the metaphysical conceit, metaphors have a much more purely conceptual, and thus tenuous, relationship between the things being compared. Helen Gardner observed that “a conceit is a comparison whose ingenuity is more striking than its justness” and that “a comparison becomes a conceit when we are made to concede likeness while being strongly conscious of unlikeness.” An example of the latter would be George Herbert’s “Praise,” in which the generosity of God is compared to a bottle which (“As we have boxes for the poor”) will take in an infinite amount of the speaker’s tears.
An often-cited example of the metaphysical conceit is the metaphor from John Donne’s “The Flea”, in which a flea that bites both the speaker and his lover becomes a conceit arguing that his lover has no reason to deny him sexually, although they are not married:
Oh stay! three lives in one flea spare
Where we almost, yea more than married are.
This flea is you and I, and this
Our marriage-bed and marriage-temple is.
When Sir Philip Sidney begins a sonnet with the conventional idiomatic expression “My true-love hath my heart and I have his”, but then takes the metaphor literally and teases out a number of literal possibilities and extravagantly playful conceptions in the exchange of hearts, the result is a fully formed conceit.
An azimuth i/ˈæzɪməθ/; from Arabic السمت as‑samt, meaning “a way, a part, or quarter” is an angular measurement in a spherical coordinate system. The vector from an observer origin to a point of interest is projected perpendicularly onto a reference plane; the angle between the projected vector and a reference vector on the reference plane is called the azimuth.An example is the position of a star in the sky. The star is the point of interest, the reference plane is the horizon or the surface of the sea, and the reference vector points north. The azimuth is the angle between the north vector and the perpendicular projection of the star down onto the horizon. Azimuth is usually measured in degrees °. The concept is used in navigation, astronomy, engineering, mapping, mining and artillery.
The Wild Hunt is an ancient folk myth prevalent across Northern, Western and Central Europe. The fundamental premise in all instances is the same: a phantasmal, spectral group of huntsmen with the accoutrements of hunting, with horses and hounds in mad pursuit across the skies or along the ground, or just above it.
The hunters may be the dead or the fairies (often in folklore connected with the dead). The hunter may be an unidentified lost soul, a deity or spirit of either gender, or may be a historical or legendary figure like Theodoric the Great, the Danish king Valdemar Atterdag, the Welsh psychopomp Gwyn ap Nudd or the Germanic Woden (or other reflections of the same god, such as Alemannic Wuodan in Wuotis Heer (“Wuodan’s Army”) of Central Switzerland, Swabia etc.)
The dreadful pseudo science of evolutionary psychology is founded upon concepts such as survival of the fittest, selfish genes, inherited instincts and mind modules. It has shot to prominence in science and societies’ thinking, and found many a willing ear.
… And if the sufferings of children go to swell the sum of sufferings which was necessary to pay for truth, then I protest that the truth is not worth such a price. I don’t want the mother to embrace the oppressor who threw her son to the dogs! She dare not forgive him! Let her forgive him for herself, if she will, let her forgive the torturer for the immeasurable suffering of her mother’s heart. But the sufferings of her tortured child she has no right to forgive; she dare not forgive the torturer, even if the child were to forgive him! And if that is so, if they dare not forgive, what becomes of harmony? Is there in the whole world a being who would have the right to forgive and could forgive? I don’t want harmony. From love for humanity I don’t want it. I would rather be left with the unavenged suffering. I would rather remain with my unavenged suffering and unsatisfied indignation, even if I were wrong. Besides, too high a price is asked for harmony; it’s beyond our means to pay so much to enter on it. And so I hasten to give back my entrance ticket, and if I am an honest man I am bound to give it back as soon as possible. And that I am doing. It’s not God that I don’t accept, Alyosha, only I most respectfully return him the ticket.”
The Ancient of Days
The title “Ancient of Days” has been used as a source of inspiration in art and music, denoting the Creator’s aspects of eternity combined with perfection. William Blake’s watercolour and relief etching entitled “The Ancient of Days” is one such example.
The Ancient of Days is the title of a design by William Blake, originally published as the frontispiece to a 1794 work, Europe a Prophecy. It shows a figure, the Ancient of Days, crouching in a circular design with a cloud-like background. His out-stretched hand holds a compass over the darker void below. As noted in Gilchrist’s Life of William Blake, the design was “a singular favourite with Blake and as one it was always a happiness to him to copy.” As such there are many versions of the work extant, including one completed for Frederick Tatham only weeks before Blake’s death.
Thumos (also commonly spelled “thymos”) (Greek: θυμός) is an Ancient Greek word expressing the concept of “spiritedness” (as in “spirited stallion” or “spirited debate”). The word indicates a physical association with breath or blood. The word is also used to express the human desire for recognition.
In Homer’s works, thumos was used to denote emotions, desire, or an internal urge. Thumos was a permanent possession of living man, to which his thinking and feeling belonged. When a Homeric hero is under emotional stress he may externalize his thumos, conversing with it or scolding it.
You should study my wife – she is immune to the Costo effect & calculates everything, even there. I swear she has a terminator-like data screen across her vision that just adds up whether something is a good deal or not and rejects stuff out of hand, because she’s so quick and so good at the money.
It make shopping trips painful, though. I bring stuff with my lizard brain to the cart and say “I can has?” and she scans it and says “no, honey, this isn’t a good deal. Put it back.” and I schlep off to put it back and come back with some other shiny thing I found to repeat the process. Six hours later, she finally gets to check out with the 3 things she actually came in for.